Frames and supports in 15th and 16th-century Southern Netherlandish painting

CHAPTER IX 168 Fig. 84. a. In the Dresden triptych, on the exterior of the wings, the perspectives in oblique planes suggest the begin of the opening, inviting us to further discover the inside. Jan van Eyck, Virgin and Child , 1437, closed 33.1 × 27 cm with original frame. b. In the second case, the Madrid open diptych. The perspective is unified but not quite centred. We are invited to stand to the right and privilege the contemplation of Mary. Jan van Eyck, Annunciation , each element 38.8 × 23.4 cm with original frame. c. The same unified vision is visible in the open Louvre Diptych in book form. Like in the former example, the perspective of the bases instructs viewers to stand to the right focusing their attention on Mary. Jan van Eyck (follower), Virgin and Child and St John the Baptist , c. 1440, each element 38.3 × 23.5 cm with original frame. a b c